This CD selection of 17 pieces by 14 composers compiled by Naxos under the
title Intermezzo is clearly aimed at the browser or novice collector.
The type of listener who will tune his radio to Classic FM but not to Radio
3. He / she (we must be careful in these PC days) will find a lot of the
music familiar - some less so. This is not a medley of the 'best bits' -
there are a handful of pieces that are not over familiar. Selection for issue
clearly is controlled by availability for the company's own back catalogue.The
Orchestras used are from the names familiar from the Naxos label - mainly
Eastern European - and taken from a variety of previously issued recordings.

Our visualised buyer will be happy enough with the first two pieces, a vigorous
Carmen Prelude and an inevitably lush Cavalleria Rusticana
Intermezzo (used so often in films). The Leoncavallo Pagliacci
extract (more lush strings), the Schmidt Notre DameInterlude (with a bad edit at 20"in an over bright recording), and
Humperdinck's Dream Pantomime from Hansel &Gretel
with its chorale like references will probably be unfamiliar but
approachable.

The Manon Lescaut extract (some lovely string playing) has enough
of Puccini's fingerprints in it to catch the ear, while the Johann Strauss
a Thousand and one Nights is another piece with lush strings but unlike
any of his usual frothy waltzes. The Thais Meditation is a well-known
winner, here beautifully played by the solo violin, and the second Carmen
extract will be immediately recognised. Less familiar territory are the
Fauré Sicilienne, a gentle piece with some attractive writing
for the flute, and the Stenhammar extract which follows. This latter is an
intense piece with fine brass playing and dark-hued strings.

Our buyer would know the Karelia Suite but an early horn fluff - which
should have been corrected - and a steady rather than lively tempo which
made a performance that did not come off. Offenbach's Barcarolle,
ever popular, and L'Amico Fritz - both would appeal while the two
Traviata extracts could hardly fail in such finely played performances.
The final, admirable, Dance of the Hours (does anyone remember Allan
Sherman? - [I do Harry! Ed.]) ended a curate's egg of a recording.

The standard of playing and recording is too variable to have an unreserved
recommendation. Some of the recordings are excellent, others too bright and
too 'digital' while the performances range from the excellent to the moderate.